The Belfast Cowboys during their Boxing Day performance at the West Theatre. Photos by Jill Fisher.

Out with the old, in with the new. That’s the way it’s supposed to go this time of year, right? 

In the last days of 2024 there were many options for music – both old and new to me. There was the new movie out on Christmas Day about Dylan’s early New York City days (more about that below) and DJ Jaze pumping out music late Christmas evening at Carmody Irish Pub, also new me. 

Not so new were The Belfast Cowboys who reprised last year’s concert at the West Theatre on Thursday, Dec. 26. 

The next evening, it was down to Northern Waters Smokehouse in Canal Park to check out two musicians I have seen multiple times before – Shane Nelson with Maxi Childs – but not together. 

I’m not sure what all I might see the weekend before New Years or for New Year’s Eve either for that matter. On the first day of 2025 it will be my favorite, Charlie Parr, at Earth Rider’s Cedar Lounge. I have my tickets!

The movie: the Curmudgeon and I went to the 7:45 showing of A Complete Unknown at Zeitgeist Zinema 2 on Christmas day (unlike some friends of ours who got to see a preview of it in Hibbing on Dec. 21). 

It was certainly a worthwhile expenditure of 2-1/2 hours, which is longer than I prefer movies to be. Every person I spoke to about the movie beforehand was impressed as was the media, with some qualifications. As Dylanophiles (the Curmudgeon virtually life-long, me since the 1990s) it was a must-see movie and one which we both approached critically. The movie was not a documentary, so getting past that took some doing, since in it events were conflated, names changed, chronology inverted to fit the time limits a movie imposes.

One of the things I appreciated most about ACU was a visceral sense of Bobby Zimmerman’s transformation into Bob Dylan, as well as his musical exploration, acoustic to electric. 

Even more notable was making clear that fame has its price, with realistically recreated recordings of mob scenes that incited Dylan’s understandable paranoia. 

Like other online reports, we couldn’t help noticing where liberties were taken in the storytelling. Having read about a zillion books and articles about the man (GOD in this household), some were obvious. 

Other supposed inaccuracies led to further investigation and enlightenment — such as the Newport Festival Scene with Joan Baez singing “House of the Rising Son,” implying this was the first time Dylan heard it. The Curmudgeon whispered, “Dave Von Ronk must be rolling in his grave.” 

But thanks to the internet, we found out more about the song and its beginnings in folk music culture while confirming that Dylan “stole” (that is recorded and released) Von Ronk’s arrangement of it.

There were visual hiccups I noticed, mostly related to costuming and underwear. But the acting throughout was amazing. Timothée Chalamet brought to life a 60-year-old past that each of us remembers differently. 

To me his voice in the early Woody Guthrie scene captured what I’ve heard in other young musicians as they start out. And then he displayed Dylan’s increasing vocal confidence and seasoned showmanship. 

As said in the movie, “it struck me to the ground.” (I heard the StarTribune reviewer on the radio say he was bothered by Chalamet’s brown eyes which don’t accord with Dylan’s blue eyes, but to tell the truth I didn’t even register that during the film.)

Here’s what my main concern is: the upcoming generation of music lovers may unwittingly begin to take this movie as the gospel truth about the incidents and sign-posts in Bob Dylan’s journey. 

For instance, Ramblin’ Jack Elliot’s presence in Dylan’s early New York days was completely absent, as were other important folkies Dylan played with. 

Will the Me-too generation write Dylan off as a philandering asshole because of the way his affairs with Suze Rotolo and Joan Baez were recreated as a classic love triangle? 

Worse, the renamed girlfriend from Greenwich Village Days was shown to be a victimized, broken-hearted woman, when, according to my earlier readings, it was she who dumped him when he expected her to give up her own artistic career to be with him. 

Similarly, my understanding that Baez never dumped Bob, as a scene in the movie implies, but remained in love with him and doing his bidding for years. 

I know others have noted quite a number of other discrepancies between Dylan’s actual life and this movie, but then I imagine Dylan wouldn’t have a problem with any of this. 

The Curmudgeon summed up our response with “I smell some sequels coming,” which would be very interesting for us since we lived in Woodstock, New York, for 20 years and have heard many stories of Dylan living there. 

For those interested, Barney Hoskyns’ Small Town Talk lays out this period of Dylan’s life.

After the movie was over, we made our way over to Carmody, which hosted a Christmas potluck dinner. The entertainment there was DJ Jaze, who played a variety of danceable music in the rear section of the pub. 

I’m not sure where all to catch DJ music here in the Twin Ports, but for me, whose true passion is for live music, I’d think I’d like to hear and dance to more of his selections.

Moving on: the Belfast Cowboys concert on Boxing Day, Thursday, Dec. 26, was their second great show at the West in as many years. 

The 9-piece Twin Cities band was formed 22 years ago as a Van Morrison tribute band and features a terrific horn section. Among the favorite tunes covered on this evening were “Wild Night,” “Into The Mystic” and “Brown-eyed Girl,” besides some original compositions. 

The original I liked best was “Southside” while a pal of mine liked “Northern Lights,” which he said perfectly expressed his feelings while watching the Aurora Borealis. 

Band leader, lead vocalist and song-writer Terry Walsh invited requests from the audience, most of which were played. Walsh said the band plays Tuesday evenings at The Driftwood Char Bar in South Minneapolis for free and invited the attendees to come on down to hear them there. (Those shows are also live-streamed on YouTube.) 

Walsh also praised the West Theatre for being a great place to play due to its sound quality in addition to the warm audience response they received. It may well be that the band is back in 2025 and, if so, you’d be well-advised to take it in.

Shane Nelson and the Maxi Childs Trio entertained a shop full of customers at Northern Waters Smokehouse on Friday, Dec. 27. 

I’ve  heard Shane solo as well as with others. As for the Maxi Childs Trio, I heard them recently at Sacred Heart Music Center besides at the Blackwater Lounge in the Greysolon Plaza (sadly now closed). 

Shane Nelson and Maxi Childs

But I haven’t heard these musicians together before even though they’ve been playing together for a while now and working on an album. Being fans of both these artists my expectations were fairly high; what I heard wasn’t exactly what I was hoping for. 

Perhaps seeing the Dylan movie with its scene of Dylan and Baez sharing a microphone at the Newport Folk Festival primed my expectations, so I was a bit disappointed when, rather than singing together in that manner, each took the lead vocals on alternative songs. 

The backup band with Steve Netzel on bass and Jerry Siptroth on drums were a fine accompaniment for Shane. The teaser was that Childs’ and Nelson’s harmonies on several songs were quite nice, their voices blending naturally. And I found Shane’s entering into the trio’s jazzy repertoire very satisfying. I hope to hear more of them together.

Northern Waters Smokehouse has terrific food. I’m not sure it makes for a good music venue in its current configuration and differing lighting requirements. The stage is very small – tight even for a trio and with barely enough headroom for a six-footer. In this instance it was so tight that Childs sat beside the raised platform, a seemingly extraneous musician, unfortunately. 

The sound was compromised in some seats, though for those standing at the rear it was fine. Like many other eateries around the Twin Ports that provide musical entertainment, it isn’t my choice for listening to my favorite artists. I realize I am in the minority with this opinion, but I do hope some other listening spaces will be developed in the new year (the imminent Alhambra addition to The West Theatre perhaps?). 

I was going to use this Jan. 2 column to give a shout-out to some musical highlights of 2024 but there were way too many of them! We sure have a plethora of talent in the Northland, not to mention much of Minnesota. 

As for music venues, I discovered two places in Superior this past year — Havana’s (well set up for both food service and music) and Superior Tavern — to be great for enjoying live music, complete with dance floors! I hear tell others are out there which I have yet to experience, so I will be exploring more venues in the year ahead.

I wish you all a good music-filled 2025. See you out there!